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Suspension of Disbelief
BY
Debora Elgeholm

In the video essay Suspension of Disbelief, a journey to Chernobyl is interlaced with Tarkovskij’s film Stalker. The ‘Mozart-effect’ is called into question and a connection between the Nevada desert and and the prophecies in the Bible is pointed out. The common denominator is our tendency to believe – in connections and simple solutions, in the predestination of events, or that there is a place which can fulfill our innermost desires.

In fiction we often accept facts which we would disbelieve in daily life. Every genre has it’s own agreements with the viewer about what is credible. This phenomenon is called Suspension of Disbelief. Similarly, one can think of any religion as a world of agreements among the initiated. What might seem absurd to a non-religious, may be reasonable for a believer. Here, it’s also given a metaphoric meaning, expressing humanity’s need for faith.

Aspect ratio 1,78:1 (16:9)
Prod. format Generic SD-video
Duration 00:11:30
Language English & Russian & Swedish
Year 2008
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About the artist

Debora Elgeholm

Born in 1976. Works in Stockholm, Sweden.

Graduated from School of Photography at Gothenburg University in 2006. Elgeholm mainly works with video, where she uses different kinds of narratives, from video essay and documentary to animations and staged situations with actors. The video pieces are sometimes complemented by photographs and drawings. The viewer is involved with her own ideas and notions, and Elgeholm often alludes intertextually to our common frames of references within film, music, literature and everyday situations.

During the last few years, Elgeholm has mainly dealt with religious questions. For example, interpretations of the Bible and the belief in ‘the end of days’, or how religious thinking is created through mythogenesis and conspiracies. Elgeholm also examines our tendency to believe in fantastic coincidences outside of what we traditionally call religion.

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